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“I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artist

Producer Timbaland has launched his own AI entertainment company and has unveiled its first artist, TaTa.
The company, called Stage Zero, has been co-founded with film/TV producer Rocky Mudaliar and entrepreneur Zayd Portillo. Their first “signee” TaTa is powered by Suno, and forms part of a new genre that Timbo has coined as “A-Pop”. However, he says that she is not just an avatar.
READ MORE: Record labels reportedly in licensing talks with AI music firms Suno and Udio While details remain minimal at this stage, it is reported that Stage Zero will also bring along a number of AI-driven creative tools. Timbaland – who has worked with Nelly Furtado, Justin Timberlake, Madonna, and many more — will be handling the majority of the production side of things within the company. He already has a working partnership with Suno, serving as its Strategic Advisor.
In a statement, as shared by Billboard, Timbaland comments, “I’m not just producing tracks anymore. I’m producing systems, stories, and stars from scratch. [TaTa] is not an avatar. She is not a character. TaTa is a living, learning, autonomous music artist built with AI. TaTa is the start of something bigger. She’s the first artist of a new generation. A-Pop is the next cultural evolution, and TaTa is its first icon.”
He also tells the outlet directly, “The technology of today is perfect for what this is. What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.”
Mudaliar adds, “The artists of tomorrow won’t just be human, they’ll be IP, code and robotics that are fully autonomous. That’s what we’re building at Stage Zero.”


Last March, in a new interview with The Inner Court, Timbaland shared his thoughts on the current state of music and AI’s role within it. Reflecting on how politics and social divides have bled into music, he said, “This whole election divided us. What I mean by that is it divided the music. The music sounds bland, it sounds boring.”
He continued, “We talk about AI, and that is the only thing that has a pure soul right now. That you can create something and just express your true feelings and it comes out beautiful.”
The post “I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artist appeared first on MusicTech.
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Hydrah Releases Emotionally-Charged Anthem ‘My Paradise’ 

Minnesota grown and classically trained, Hydrah is a musical triple force, an electronic music producer, composer, and singer blossoming into the club and festival scene.
 
Her background has manifested into intricate compositions that synthesize orchestral-inspired melodies atop heavy driving bass lines with powerfully indelible vocals, reminiscent of a siren song with raw power. Emotionally charged and melodic, Hydrah’s latest works are an evolved fusion on the cutting edge of dance music. Hydrah unveils a deeply cinematic return on her own imprint, Acropora, with a stunning new single that fuses raw emotional power and atmospheric elegance.
Driven by her haunting vocals and rich, textural production, the track channels her time
immersed in nature and reflects on the fragile state of our changing planet. Ethereal yet grounded, it’s a sonic journey that blurs the line between dancefloor energy and environmental storytelling, a powerful statement from an artist who continues to craft music with meaning.

What is the story behind the track?
 
Most of my creative inspiration comes from nature—it’s my true paradise. The lyrics of this track reflect a deeper story: one of ecosystems under threat and the beauty of the natural world slowly disappearing. With this release, and more to come, I’m shining a spotlight on organisations dedicated to protecting our planet. For this project, I’ve chosen to support The Nature Conservancy, a group I’ve personally volunteered with and deeply admire for their impactful conservation work. Alongside the track, I’ve created a visual piece filmed on the rugged, dramatic shores of Lake Superior, the largest freshwater lake in the world. In the video, I perform the song live, surrounded by the raw power and serenity of nature—a setting that mirrors the emotion behind the music.
 
Tell us more about your production process
My process varies day to day. Sometimes it’s a vocal line that pops into my head and I take it from there; other times I start with just a pad to create a mood. I always aim for a strong catchy melody, and sometimes that is both the vocal line and the synth line. I love to layer melodies, but this is a tricky and delicate balance. With electronic music productions, the possibilities are endless.
 
Did you do anything special production-wise with this one that might be interesting?
I usually have very minimal vocals, as I think techno tends to lean more this way, but I decided to make this one very vocal heavy and vocal focused, which is not normal for me.
 
What were your influences for this track?
I wanted this track to feel raw and emotional. I was listening to a lot of Vivaldi and Beethoven when producing this track. Classical music is where I find my melodic inspiration.
 
How would you describe the track?
This is a powerful, cinematic, and vocal-driven track with strong textural elements and atmospheric elegance.
 
What are your plans for this year as an artist/DJ?
 
I have several more releases on the way with my label, Acropora, as well as other melodic house and techno labels. I plan to film more live performances in natural settings all over the United States and continue on my mission to raise awareness through music and art. Hopefully, soon I can take this concept international!
 
Do you have anything exciting coming up?
Right after the release, I plan to unplug and go off-grid into the wilderness for a week. I am thrilled to get this track out into the world, but I also feel the need to detach from technology for a bit to reset my mind. This also helps with my musical productivity.
 
Is there anything extra you can share with us about yourself?
I am also a water scientist, and I am grateful I have found a way to combine my passion for science and music!
The post Hydrah Releases Emotionally-Charged Anthem ‘My Paradise’  appeared first on Electric Mode.
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Sonus Croatia 2025 Reveals Full Lineup, Brand Partners and Opening Party for Return to Pag Island

The countdown is now on for Sonus Croatia 2025, as the lineup is completed with a meticulous blend of international tastemakers and discerning regional talents, who play the sun-kissed paradise of Pag Island from August 17 – 21, 2025. In partnership with the world’s leading live events experience creator, Insomniac, Sonus Croatia is the perfect blend of musical escape and travel adventure with steadfast attention to sound, production and crowd experience. The last remaining second tier tickets are available via https://www.sonuscroatia.com/book/, including a limited time €50 discount on all-inclusive ticket and accommodation packages. Day Tickets will be available from next week.

The final round of names for the 12th edition of Sonus Croatia brings another wave cutting-edge performers to Pag Island, including house and techno trailblazer SYREETA, who came up through the East London scene to land resident duties at ANTS and HE.SHE.THEY, and Space Miami resident Thunderpony, famed for his deep and dynamic sets. Further additions include a wealth of regional talent, including Ani., BAGGI, Dash, Dejan Milicevic, GLIA, Hudi, Labud, Mariano Mateljan, MENE, Tea Vuckovic and Tom Bug. Furthermore, this year’s festival gets underway with an essential Opening Party at Aquarius on August 16th – playing will be Easternderz party and label founder East End Dubs, who blends dub, garage, tech and minimal, Dutch house titan Franky Rizardo, and Elena Mikac.
 
Stage partners have been levelled up too, with Italy’s Decibel Open Air, Madrid’s cultured club The Bassement, Düsseldorf party crew Kiesgrube and Ibiza favourites Keep On Dancing set to host, joining the previously announced Space Miami, LA’s Factory 93, London’s FUSE and Nordstern.

All this comes on top of the eclectic likes of previously announced headliners Adam Beyer, Anetha, ARTBAT, Ben Klock, Boris Brejcha, Deborah De Luca, DJ HEARTSTRING, Indira Paganotto, Joseph Capriati b2b Seth Troxler, Miss Monique, Reinier Zonneveld live, Ricardo Villalobos, Richie Hawtin, Sven Väth, and tens more. 
 
Sonus Croatia is a three-way partnership between veteran and industry-leading event producers Time Warp, Balkans electronic music tastemakers We Love Sound, and Insomniac, which is best known for its iconic EDC events. Between them, they bring world-class know-how that ensures every single detail is perfected across the whole festival, all while sticking to the same values that have made it such a revered celebration of underground music. 
 
Sonus takes place across the renowned beachfront venues of Aquarius, Papaya, Kalypso, and Noa Beach Club. This year, Sonus will take over the Noa Beach Stage for a special one-off event, allowing people to swim and dance in the water for the first time. As well as the main stage action, the dancing continues across legendary boat parties, and up close and personal afterparties.
 
Away from the well sequenced sounds, the Novalja region offers a wealth of things to explore, from hikes into the stunning nature, mouthwatering local cuisine, water sports, kayaking, rock climbing, quad bike hire, bungee jumping, wind and kite surfing, all within a few minutes of the main site. Accommodation is just as varied and accessible, and ranges from villas and 5* hotels to glamping and apartments.
 
There is no finer blend of forward thinking music, escapist beauty and natural charm than at Sonus Croatia, which maintains a proud partnership with the Croatian National Tourist Board. #InspiredbyCroatia #CroatiaFullOfLife
The post Sonus Croatia 2025 Reveals Full Lineup, Brand Partners and Opening Party for Return to Pag Island appeared first on Electric Mode.
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FREE DOWNLOAD – Sunday Bath – Circle

Crescent London · • 𝗙𝗥𝗘𝗘 𝗗𝗟 • Sunday Bath – Circle [FREEDL19] After some tatsy free techno? Sunday Bath makes his debut on Crescent London showing his darker side.
Immersed in a shifting, obscure landscape, the groove remains the key element of “Circle”, the upcoming freedl. The Rome-rooted artist, Giacomo Occhiuzzo, proposes to the listener his idea of techno. Rumbling and insistent basses sculpt the track, and yet they give space to tense emotional landscapes to emerge and hypnotise.
Coming from a wide musical background, Sunday Bath is not only a sound designer and a DJ. Studying music since his childhood and playing different instruments and styles is what defined his path
Download here
The post FREE DOWNLOAD – Sunday Bath – Circle appeared first on Decoded Magazine.
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Tomorrowland Opens Its First-Ever Official Store in Ibiza

Starting today, the spirit of Tomorrowland has found a permanent home in Ibiza with the opening of its official store. The brand behind one of the world’s most iconic music festivals has officially opened its first-ever retail experience on the island. It’s now welcoming visitors into a world where music, design, and lifestyle converge under one roof. Located in the newly launched Ibiza Gallery complex in Playa d’en Bossa—steps from Ushuaïa Ibiza and Hï Ibiza—the store opens daily from 11:00 to 23:00.
More Than Merch: An Immersive Lifestyle Destination
Calling Ibiza home, the Tomorrowland Store is not your average festival shop. It’s a fully curated experience that brings together fashion, gastronomy, technology, homeware, and artisanal design. Shoppers will find everything from premium festival apparel—including hoodies, swimwear, and sunglasses—to unique collaborations with brands like Serax, Baobab Collection, Sarda, MORPHO, and JBL. Tomorrowland’s official signature fragrance is also available, alongside exclusive jewelry, vinyls, and printed editions of the festival’s history.
Each piece has been designed in-house by Tomorrowland’s Great Library Design Studio. This ensures the same attention to detail and storytelling that defines the mainstage are maintained.
Tomorrowland Ibiza Store: A Visual Masterpiece With Its Own Terrace & Expo
The space is visually stunning, echoing the architectural spirit of Tomorrowland’s Antwerp headquarters. Inside, signature butterflies, natural textures, and custom-designed concrete stairs guide visitors through immersive displays that celebrate the festival’s magical world. Beyond the store, a 269.5-square-meter terrace styled with MORPHO furnishings offers a peaceful escape. Here, guests can sip Solo Vida sparkling wine and taste Acta Non Verba vintages. They can also enjoy local Hierbas liqueurs or simply unwind with a specialty coffee.
By sunset, the terrace transforms again. Sunset Sessions bring the magic to life with live DJ sets. Expect artist meet-and-greets and exclusive tastings, all capturing the soulful community spirit that defines the People of Tomorrow.
Celebrating Two Decades of Tomorrowland
Inside the space, fans can explore the Tomorrowland Expo, an interactive installation that journeys through 20 years of the festival’s evolution. Learn of its humble beginnings to its present-day global stature. For those who want a permanent souvenir, the store even features an exclusive tattoo studio, offering festival-inspired designs in a safe, professional environment.
With this flagship location in Ibiza, Tomorrowland expands beyond the festival grounds, delivering a year-round experience that blends storytelling, style, and shared passion. Prefer to shop online? Shop for your Tomorrowland favorites by visiting their online store.
The post Tomorrowland Opens Its First-Ever Official Store in Ibiza appeared first on EDMNOMAD.
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Rise Festival announces phase 1 lineup

Rise Festival is back with the first drop of big names for its 2025 edition. The world’s biggest independent ski and music festival returns to Les 2 Alpes from 6–13 December for another week of snow, cutting-edge music and non-stop parties in the mountains. For more info and tickets, visit http://www.rise-festival.com. 
The 2025 soundtrack comes out swinging with the first wave of acts featuring a potent mix of electronic talent. House, garage, drum and bass, minimal – it’s all here. Phase one brings a stacked mix of heavy-hitters and fresh names, including Kettama, Kanine, Lens, Interplanetary Criminal, Overmono (DJ set), Josh Baker, Mozey, Max Dean, Luuk Van Dijk, Rossi., Badger, Serum, Gaskin, Diffrent, Ellia Jaya and Wildish. 
Rise draws a global crowd every year (45+ countries represented in 2024) across three main stages, five indoor venues and a late-night warehouse site that turns into the ultimate alpine afters. Whether the crowds are there for the boarding, the raving or both, it’s a high-altitude experience like no other.
Set in a beautiful, snow-covered village, Rise Festival has something for everyone, from the absolute beginners to the seasoned shredders. Expect raves 2600m up the mountain (no other party has views like this one), spa recovery sessions, dining above the clouds, and all kinds of standout moments. 
Tickets start from £389pp for a festival pass plus a 6-day lift pass. Or go all in with a festival pass, lift pass, accommodation and gear hire from just £699pp for a group of 8 or £839 for a group of 4. Grab yours now at www.rise-festival.com.

The post Rise Festival announces phase 1 lineup appeared first on Decoded Magazine.
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Mix of the Month May 2025 Winner – Molotov

Decoded Magazine · Decoded Magazine Mix Of The Month Winner May 2025 – Molotov Every so often, a mix lands in our inbox that doesn’t just tick the technical boxes, it transports you. This month’s Mix of the Month does exactly that, and it’s with real pleasure that we spotlight the talented Molotov, aka Trevor Phillips, as our May winner.
Trevor’s journey into electronic music is one born from pure passion. He fell in love with club culture at just 14 years old, sneaking into his first all-night rave, a rite of passage that would ignite a lifelong obsession. By his late teens, armed with a pair of turntables and an ear tuned to perfection, he began teaching himself to beatmatch by syncing identical records. Hours spent on the dancefloor were matched by hours spent studying the DJ booth, watching, learning, and eventually becoming one of the figures behind the decks.
Growing up in the golden age of trance, his influences read like a hall of fame: Marco V, Paul Oakenfold, Sasha, Digweed, and PVD. In more recent years, Trevor has found his calling within the deep and hypnotic sounds of Progressive House, though his heart still pulses to the rhythms of Psytrance.
With five years as a resident DJ on Subcode.club, countless podcast features for labels like Droid9, Big Bells Digital, Pangea Recordings, and Vesta Records (where he also works as A&R), Trevor’s sound has matured into a rich blend of melody, drive, and atmosphere. His involvement with Celtic Tribe, a Psytrance collective hosting bi-monthly events in South Wales, further showcases his diversity and love for the underground.
This month’s mix is a testament to Trevor’s deep musical knowledge and innate storytelling behind the decks. A journey built on emotion, progression, and expertly blended transitions
We’re also excited to announce that Decoded Magazine has teamed up with Argentina’s Golden Wings Music Radio as an official partner for our Mix of the Month competition, giving our winners even greater exposure across the global underground scene. June submissions close on the 20th, so if you think you’ve got what it takes, now’s the time to send us your finest work.
Let’s start at the beginning. Tell us how you approached this mix from a creative and technical standpoint. What story were you aiming to tell, and how did that influence your selection, sequencing, and transitions?
When I saw the advert for Mix of the Month, I thought to myself, “Right, I want to bring the listeners on an emotional and mind-opening, energetic journey.” So I chose 11 tracks that I felt captured everything I wanted to express through this mix. I began with a track by Static Guru called “Crystalomancy” (Twins in Mind Remix). Twins in Mind’s music is very enigmatic and really opens my mind and senses.

From there, I gradually increased the tempo over the next four tracks, guiding the mix into Progressive House. I then added one of my favourite breaks tracks, “When Worlds Collide” by Alex Vidal (Manu Riga’s Balearic Dreams Remix), and transitioned into Hypnotic Progressive to bring the journey to a close.
Were there any particular production or mixing techniques you used to maintain cohesion or enhance dynamics across the mix? For instance, did you favour long blends, harmonic mixing, or any custom edits to help the narrative flow?
For this mix, I used some FX, like flanger and a touch of colour, mainly during a couple of track breakdowns. I also used fairly long transitions to make it less noticeable when one track ends and the next begins, allowing the flow to remain seamless. After finishing the mix, I ran it through a program called Audacity to adjust the levels. That way, when it’s uploaded to SoundCloud or Mixcloud, the listeners hear it just as I did during the creation process.
From a curatorial perspective, how do you balance introducing fresh, lesser-known tracks with maintaining a sense of familiarity or emotional connection for the listener? Does this balance influence how you define your own sound or identity as an artist?
I carefully balanced the selection of tracks between older and fairly new productions. If you listen closely, you’ll notice I have a real love for vocal elements and shaker samples, shakers, especially, which give the tracks a real sense of motion.

Coming from a Trance background, I tend to push the tempo of my mixes a little faster (forgive me, haha!). I’m also fortunate to be part of some of my favourite music labels, Droid9, Vesta Records, Transensations Records, Deepersense Music, to name a few, which means I receive promos almost every week. I love sharing them with the world and introducing people to the music I truly believe in.
Tracklisting
Static Guru – Crystallomancy (Twins In Mind Remix) The Bitzpan,Banyattti – Out Of Bounds Banyatti – Sky Highway Sasha Vs Junkie XL – Beauty Never Fades (Andy King Refit) Slavlotski – Crystal Nova When Worlds Collide – Manu’s Balearic Dreams Emmanuel Dip & Faruma – Minsk F-Act – Angular Momentum (Allan Mcloud Remix) Ignacio Salgado – Cyan (Ezequiel Perini Remix) Mlab – Cph4 (Alex Vidal Remix) Latin Intelligent – Hoodoo Basement (CJArt Remix) The post Mix of the Month May 2025 Winner – Molotov appeared first on Decoded Magazine.
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Inside the Mind of Le Castle Vania, the Sonic Assassin Behind John Wick's Most Brutal Moments

There are moments in every John Wick film when the bass drops and you know someone's about to be very, very sorry. Those moments derive from the virtuosic hands of Le Castle Vania, the producer who has spent over a decade crafting the electronic music behind cinema's most stylish assassin franchise.
The artist, whose real name is Dylan Eiland, has been the musical architect behind many of the John Wick universe's most memorable scenes since the original movie back in 2014. His influence has been so significant that he even appeared as himself in its first sequel, John Wick: Chapter 2, DJing at a rave while Keanu Reeves lights up a now-iconic fight sequence as the titular antihero.
What ultimately emerged was a rare and fascinating approach. Rather than composing to finished footage, director Chad Stahelski began calling Eiland during pre-production, allowing the music to inform the filming process itself.
"We've built a strong creative trust," Eiland tells EDM.com of his creative relationship with Stahelski, who famously served as a stunt double for Reeves on The Matrix. "Anytime I start working on music for one of his films, it begins with a conversation. We talk about the tone, the emotion, the story and what he wants the audience to feel. Those conversations help me lock into the vision and create something original that fits this universe we've built."
His latest Wickian masterstroke is an EP of music appearing in the franchise's fifth installment, Ballerina, which compliments a score from its longtime composers, Tyler Bates and Joel J. Richard. The challenge, Eiland explains, was "introducing a more graceful and haunting dimension" to the bloodthirsty franchise, like perfectly pressing a suit concealing a cache of weapons.
Eiland, a decorated DJ who has graced the stages of EDC, Ultra and many other leading EDM festivals, faced another tough task: the weight of fan expectations. The John Wick fanbase dissects every detail with the intensity of forensic accountants examining the High Table's books.
Rather than shrinking from this scrutiny, he says he embraces it as fuel, constantly imagining those crucial theater moments when audiences experience their collective "oh shit" reaction to the icy Reeves glare that means someone's about to regret being born. The result is a composer who has arguably become as integral to the John Wick universe as the actor himself.
Ballerina pirouettes into worldwide theaters today, June 6th, with a killer cast featuring Ana de Armas and Norman Reedus, among others. Prior to its release, we caught up with Le Castle Vania to discuss his inventive work for the film.
EDM.com: Take us into your studio during those 3am sessions when inspiration strikes. What's your secret to capturing those fleeting moments of creative lightning for such an iconic film series?
Le Castle Vania: When I sit down to write music for these films, my goal is always to bring my musical voice into the world we’re building in a way that feels intentional. I want the music to feel like it lives inside this gritty, underground universe—like it belongs there. I never want it to feel like someone just dropped an EDM track into the background of a club scene.
I think a lot of films have tried to emulate what we’ve done with John Wick, but that’s one of the marks they always miss. They’ll license an existing electronic track and just throw it behind a fight or club scene. But our process goes way deeper. Every cue is sculpted specifically for the energy and timing of each shot in the scene. It’s built into the DNA of the world.
A big part of that process over the years has been collaborating with Chad Stahelski, the director of the John Wick series. We’ve built a strong creative trust. Anytime I start working on music for one of his films, it begins with a conversation. We talk about the tone, the emotion, the story and what he wants the audience to feel. Those conversations help me lock into the vision and create something original that fits this universe we’ve built.
Even though Chad didn’t direct Ballerina, he produced it and was deeply involved creatively. He was actually the one who brought me in on this project, and those early conversations helped me get locked into the mindset of this next chapter.
As for those 3am moments—I don’t wait around for inspiration to strike. I’ve built a system to generate it. I carve out time, sit down and the rule is simple: just start. Even if I have no specific ideas beyond the general vibe that I want for the scene, I’ll build a basic beat, experiment with sounds or play around on a synth. That first small spark always leads somewhere. Before I know it, I’m deep in the flow—and that’s when the real magic happens.
EDM.com: Appearing as yourself in the concert-shootout scene from Chapter 2 must have been a wild experience. How did it shape your understanding of your role in the John Wick universe? Do you see yourself as a character within this world, and how does that influence your creative direction when producing projects like Ballerina Code?
Le Castle Vania: Yeah, that was such an incredible experience. Aside from filming the scenes I was in, I also got to stay in Rome for several extra days just hanging out on set and watching a lot of the other scenes get filmed. That alone was a huge source of inspiration.
Seeing the sheer amount of work and creativity that goes into making these films—the lighting, the choreography, the stunts, the camera work—was really eye-opening. So many creative people all coming together to build this massive, stylized world. It’s just such a cool thing to be part of, and to see it all come together into something that people connect with on such a big level... it's honestly an honor.
One of the biggest things that came out of filming that scene was Chad's idea to flip the traditional process. Normally, composers don’t start writing until the film is in post. We get the edited scenes and write to picture. But for that concert-shootout scene in Chapter 2, Chad wanted the music playing live on set so the energy would be there in the moment. The crowd could dance in time, the actors could feel the pulse. So I wrote an early demo of the track that would become "John Wick Mode," and we blasted it over the speakers while filming. Then later in post, I refined the track to match the final cut of the scene.
That moment really shifted how we work. Ever since then, it’s become part of our process. For big musical scenes—like the club sequence in John Wick: Chapter 4 or the new one in Ballerina—Chad will call me during pre-production and tell me about the scene he's planning. He’ll lay out the vibe, what he wants to achieve emotionally or visually, and I’ll write music specifically for him to film to. Later, we go back and dial it in further during post. It’s this cool back-and-forth that makes the music feel even more connected to the energy of the scene.
As for whether I see myself as a character in the John Wick universe... maybe? I'd definitely be down to make another appearance in a future film or spin-off and build on that idea if the opportunity arises. I think it's a fun Easter egg for fans who are really tapped into the music of the series. But even if that doesn’t happen, I’m more than happy just getting to help shape the sound of this world. That’s where I feel most at home.
EDM.com: You mention introducing "a more graceful and haunting dimension" for Ballerina, but how do you prevent that grace from defanging the violence that makes John Wick music so visceral? In other words, what's the risk of sanitizing brutality in pursuit of elegance?
Le Castle Vania: That balance was something I thought about constantly while working on Ballerina. I always want to push myself creatively and raise the bar with each new project, but it was just as important to me to make sure the music still carried the same visceral, powerful energy that fans expect from the John Wick universe. There’s a certain raw intensity that’s become part of the musical DNA of these films, and I didn’t want to lose that—I wanted to evolve it.
My years of experience as a DJ and remix artist really helped with that. That background taught me how to blend contrasting elements and create tension between different moods—light and dark, beauty and aggression, elegance and chaos. So when I set out to bring in a more graceful and haunting dimension to Ballerina, it was never about softening the impact. It was about finding new ways to bring depth and contrast to the music while still hitting just as hard emotionally and sonically.
In fact, I think weaving in elements of beauty or elegance can sometimes make the brutality feel even more intense by contrast. It creates that push-and-pull that pulls the listener deeper into the experience. The key is knowing when to let that elegance breathe, and when to slam the door with something heavy and aggressive. That kind of dynamic range is what gives the music real weight.
And if anyone’s wondering whether this soundtrack still goes hard: I’d say tracks like "Ballerina Code" and "One Bullet Well Placed" absolutely deliver the kind of intense energy that Wick fans expect. Those tracks are meant to hit hard and leave a mark, while still living in the same elevated world as the film.
EDM.com: Electronic music often gets dismissed as "easier" than orchestral composition because of its technological tools, yet your work requires split-second timing with on-screen action. What's the most technically demanding aspect of your craft that people don't understand, and how do you respond to purists who see electronic film scoring as somehow lesser?
Le Castle Vania: I’ve done both. Over the course of my career, I’ve written more traditional film score and recorded full orchestral sections—and I’ve also created music that’s completely electronic and built from the ground up with synths, drum machines and custom sound design. I have a deep respect for both sides of the spectrum, but they each come with their own set of challenges.
One thing a lot of people don’t realize is that with traditional film scoring or orchestral music, it’s much easier to get away with little tricks—like adding or removing a beat here and there, or shifting the tempo—to help sync musical moments to picture. But when you’re working on a highly featured, rhythm-forward track like the ones I create for the John Wick club scenes, you don’t have that same flexibility. If you start warping the groove too much, the music can instantly feel clunky or awkward, especially if it’s something the audience is really locked into. It has to hit with surgical precision while still feeling natural and driving.
Those scenes present a unique set of challenges that I feel I’m really well-suited for, especially because of my background. I’ve spent years touring the world as a DJ and electronic music producer, and now I’ve also built up a lot of experience composing to picture. That combination allows me to approach these scenes in a way that’s both musically compelling and tightly woven into the visual storytelling.
At the end of the day, the idea that electronic scoring is somehow "lesser" because it uses different tools is just outdated. The tools are only as good as the ideas behind them. And honestly, most of the biggest and most respected traditional film composers today are all weaving electronic elements into their scores. It’s become a part of the modern sound of cinema—because when used well, these elements can be incredibly powerful and emotionally impactful. Whether it’s a full orchestra or a gritty modular synth, what matters is the emotion, the timing and how well the music serves the story.
EDM.com: Electronic music in film also often risks being overshadowed by visuals or narrative, yet your work in the John Wick series has become iconic in its own right. How do you go about composing for scenes that are inherently chaotic to ensure the music not only supports but elevates the storytelling? Are there specific techniques or philosophies you lean into to make your tracks feel integral rather than supplementary?
Le Castle Vania: For me, it all comes down to intention. When I’m writing music for these kinds of high-energy scenes, I’m always thinking about how the music can heighten the story, not just sit underneath it. I’m not just making a track and hoping it works—I’m crafting something that’s tailored to the rhythm of the scene, the choreography, the energy, even the emotional undercurrent.
One of the big things I focus on is timing. I’ll often write music that’s synced to very specific beats in the action—a punch, a gunshot, a camera move—even if it’s subtle. That kind of precision helps blur the line between the music and the action, so it all feels like one cohesive thing instead of separate layers stacked on top of each other.
I also try to bring a sense of atmosphere and tension into the mix. It’s not just about having a hard-hitting drop or a cool groove. It’s about creating a sonic world that pulls you deeper into the scene. That could mean using more cinematic textures, distorted synths, custom-designed drum hits—whatever helps the music feel like it’s part of the world on-screen.
Fortunately for me, the music is often intended to be a major part of the identity of the scenes I’m brought in to work on. It’s there to push the energy, to help define the feel of a moment. But at the same time, I’m always working to find that balance where the music can elevate the scene without distracting the audience or pulling focus from the action. It has to serve the story first—but when it’s done right, it becomes something people remember long after the scene is over.
Le Castle Vania.Dylan Eiland Photography
EDM.com: The franchise has a rabid fanbase that dissects every detail, from choreography to sound design. How do you handle the weight of fan expectations when crafting music for a project as high-profile as Ballerina Code? Have you ever altered your creative direction based on fan feedback, or do you shield yourself from external pressures to preserve your artistic vision?
Le Castle Vania: The fans are honestly amazing. I’ve always felt a lot of support and kindness from them, and I really appreciate how deeply they care about every detail—including the music. Over the years, many of them have become fans of my other music outside the films, and that means a lot to me.
I definitely put a lot of pressure on myself, but I don’t see it as a bad thing. It’s more like fuel. It pushes me to raise the bar every time and to create something that’s really going to get people hyped.
When I’m writing, I’m often imagining what it’s going to feel like as a fan sitting in the theater—and asking myself, how do I deliver that "oh shit!" moment that gets people bouncing in their seats? That mindset drives me to make the music as good as it can possibly be and to help elevate the scenes in a meaningful way.
EDM.com: If John Wick ended tomorrow, what would be your biggest regret about opportunities unexplored within that sonic universe? What ideas have you been holding back?
Le Castle Vania: Honestly, if I had one regret, it would be not having more opportunities to collaborate directly with my friends Tyler Bates and Joel J. Richard. The three of us have all contributed music across the John Wick films, and I truly admire their work. What they’ve created for this universe—especially the thematic threads and sonic character that run through the scores—is incredible, and I’ve learned a lot just from listening to what they’ve done.
Most of my music for the series has been written separately, usually focused around the big, stylized club and action scenes. But I’ve always thought it would be cool to do some deeper creative collaboration with Tyler and Joel—just getting in a room together and building something from the ground up. Tyler and I did co-write and produce a track for this film with the band Evanescence, which was a great experience. I would’ve loved more chances to combine our styles in unexpected ways. I think they’re two of the best in the business.
So yeah, if the Wick world were to wrap up tomorrow, that would probably be the one thing I wish we could’ve explored more.
EDM.com: Beyond John Wick, what genre or type of story do you think your particular brand of electronic composition could revolutionize next? Where do you see the biggest gap between what films need sonically and what they're getting?
Le Castle Vania: I definitely feel like I belong in the action space, especially when it comes to stylized films, sci-fi or anything set in a near or distant future. Any kind of story that calls for a hybrid electronic score, where the music can help shape a heightened, modern world—that’s where I thrive.
Some of the first soundtracks that ever made me think, "Damn, I want to do music for film someday" were The Matrix and Fight Club. Those were two of the coolest movies I had ever seen at the time, and both leaned heavily into electronic music in a way that felt fresh and impactful. Getting to work with Chad, who has deep roots in The Matrix, and now having Keanu as the star of the films I’m most known for… that’s been a surreal full-circle moment for me.
But I also want to show people I’m not just "the club scene guy." I’ve built my chops as a composer and I’m hungry to take on bigger challenges. I’ve scored entire video games for studios like PlayStation, where I’ve recorded live orchestras, percussion sections, soloists—and fused all of that with my own electronic instrumentation to create bold, hybrid cinematic scores, and I know I could deliver something truly special for the right film.
I’d love to be known as the guy you call when your film needs to feel big and badass—when you need music that brings edge, power and emotion, but still feels fresh and modern. That’s the space I want to keep pushing forward.
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Chris Lake Channels Pure Escapist Energy in Stunning House Track, "Savana": Listen

Chris Lake has dropped a new single, "Savana," a track that elevates his signature house sound into something that feels like medicine for the chronically overworked.
With a heady house beat and dopamine-fueled vocals, "Savana" is a sonic passport to somewhere the Wi-Fi doesn't reach and your boss can't find you. Its escapist mantra ("a little less stress, a little more go harder") taps into house music's fundamental principle: that sometimes the best way forward is to surrender and get completely lost first.
Meanwhile, Lake's production wizardry shines in the track's textured drops, weaving together his trademark basslines with sublime synths that shimmer like heat mirages. He understands that sometimes the most profound escape isn't geographic, but rhythmic.
"Savana" had operated as a fan-favorite drop in Lake's DJ sets prior to today's release on streaming platforms through his own label, Black Book Records. It appeared in his groundbreaking performance at Coachella, where on Thursday, April 10th, he became the first artist to deliver a set within the iconic festival's campgrounds.
"Savana" is the third single to release from the house music virtuoso's long-awaited debut album, Chemistry. Due out July 11th, the project marks his "most expansive body of work to date," according to a press release.
"'Savana' works in multiple situations, it's the kind of track that hits at a festival but you wouldn’t mind hearing it on the radio either," Lake explained. "I love when I can balance on that edge between what makes people move on the dancefloor and what resonates in a more casual setting. It’s been fun to test the song in my set, and I have a feeling it's only going to become more prominent."
You can listen to "Savana" below and pre-save Lake's forthcoming album, Chemistry, here.
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Crankdat and NGHTMRE Reimagine Gesaffelstein's "Hellifornia" in New Dubstep Banger: Listen

Crankdat and NGHTMRE have teamed up for the first time to deliver "TYPE SH*T," a bass-fueled collaboration that transforms Gesaffelstein's 2013 hit "Hellifornia" into a full-throttle festival destroyer.
Right out of the gate, the track erupts with a striking rework of the French icon's timeless lead melody before the voice of Memphis-based rapper Duke Deuce takes over, injecting raw energy and swagger. His vocals set the tone for the pure bass mayhem to come.
"TYPE SH*T" plays out like a raging pressure cooker, Crankdat and NGHTMRE leaning into their intricate sound design with distorted synths, skull-crushing bass and militant drums as the tension builds. Gesaffelstein's melody loops back throughout like a recurring itch that fuels each new drop.
Both artists have already made the track a staple in their live sets, firing up crowds at Ultra Miami and EDC Las Vegas, among other major festivals. It's now set to reach its largest audience yet in in July, when they perform together at Tomorrowland, the world's preeminent EDM festival.
You can listen to "TYPE SH*T" below and find the new single on streaming platforms here.
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Excision, SVDDEN DEATH and yvm3 Team Up for Punishing Dubstep Track, "INSANE!"

Excision, SVDDEN DEATH and yvm3, three artists who've collectively made tinnitus a lifestyle choice for countless fans, have joined forces for "INSANE!," a dubstep banger that lives up to its name.
The collaboration finds a group of the genre's most contrarian producers teaming up for a track that brings it to new heights. We all know that dubstep and riddim artists often focus too much on winning the loudness war, but this trio understands that being loud isn't the same as being effective.
Their production on "INSANE!" is both nuanced and punishing, with syncopated bass patterns that churn through blistering drums. Excision's precision, SVDDEN DEATH's aggressive sound design and yvm3's technical polish blend into something that maintains clarity even at its most chaotic moments.
You can listen to "INSANE!" below.
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Sander van Doorn and BLR Deliver Dancefloor Epiphanies in New Single, "Eyes Open Wide"

There's a moment in every club night—usually around 2am, when you've had just enough drinks to stop checking your phone but not enough to forget hearing the tenth Brat bootleg of the evening—where the DJ drops something that makes you remember why you came out in the first place. That's "Eyes Open Wide," the new collaboration from Sander van Doorn and BLR.
The Dutch producers, who have been crafting dancefloor epiphanies since before TikTok convinced us all we were manifestation gurus, deliver a cerebral banger at the intersection of trance and techno. The track features The Melody Men, whose haunting refrain ("My eyes are open wide, feels like I'm dreaming") evokes that elusive, surreal feeling of inhibitions dissolving on the dancefloor.
Meanwhile, van Doorn and BLR produce thumping techno kick drums while trance-inspired arpeggios cascade like digital waterfalls of serotonin. It's manifestation music for people who understand that sometimes the thing you need to manifest is just the will to keep dancing.
"Eyes Wide Open" is out now via Dreamstate, the trance label of Insomniac Records. You can listen to the new single below and find it on streaming platforms here.
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Gryffin's "Hard Time Lover" Is a Slow-Burning Summer Anthem

Gryffin is back with a new single, "Hard Time Lover," returning to his indie roots with a track that's as heartfelt as it is entrancing.
"Hard Time Lover" arrives on the heels of a pair of massive collaborations, "In My Head" (with Kaskade) and "Air" (with Excision and Julia Michaels). Where those tracks pushed the outer edges of Gryffin's sound, this one pulls things back inward.
Featuring a stirring vocal performance from Chance Peña, the track is about staying when it's easier to run, told with the weary patience of someone who knows what that costs. Peña's voice carries the arrangement with a quiet ache, brushing against the beat like a breeze through open windows.
On the production side, "Hard Time Lover" showcases delicate layers and the melodic precision that highlights Gryffin's ability to create depth through subtlety. His signature guitar riffs flicker in and out, building into a slow-burning groove that draws us in through its warmth.
You can listen to "Hard Time Lover" below and find it on streaming platforms here.
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Riot Ten Drops Ferocious 15-Track Album, "Requiem for a Riot"

Riot Ten is back with a new album, Requiem for a Riot, out now via Monstercat.
There's something charmingly contradictory about titling your album Requiem for a Riot when every track sounds designed to incite one. The project is a no-holds-barred showcase of the dubstep maximalism on which he's built his name.
The El Paso-born DJ and producer has crafted something that feels like it was plucked out of a Mad Max chase scene, all grinding gears and explosive momentum. The album features 15 pummeling tracks, including collaborations with Deorro, TYNAN, Smoakland and Versa.
Each bleeds into the next with relentless momentum, lacing gritty hip-hop influences through ferocious production. Highlights include the woozy banger "Bass Bop" and the genre-bending "2 Da Floor," where Riot Ten teamed up with Deorro and J. Cruze to produce a compelling blend of cumbia and dubstep.
Opening up about the album, Riot Ten painted a picture of a project untethered from creative boundaries or expectations.
"Requiem for a Riot is not only the largest body of work I've ever released, but I'm also the most proud of it as well," he said. "I think this album really encapsulates my diversity as an artist—and overall desire to not be held to any 'genre norms.' Many of these songs have lived in my live sets since the end of last year, so I'm stoked to finally be releasing them."
You can listen to Requiem for a Riot below and find the new album on streaming platforms here.
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Apple Request to Pause Court Order On App Store Updates Denied by Appeals Court

Photo Credit: Apple Inc.
Apple loses its request to pause a court order requiring it to let app developers direct users to payment options outside the App Store.
On Wednesday, a ruling by a federal appears court in San Francisco has rejected Apple’s request to pause the court order forcing it to allow app developers to steer users to payment options outside the App Store. It’s the latest setback for the tech juggernaut in a long-running court battle with Fortnite developer Epic Games over the App Store’s anti-competitive conduct.
Initially, Apple had sought a stay on the court order while it appeals a judge’s ruling in April. That ruling determined that Apple must comply with a 2021 injunction issued after the court found the company engaged in anti-competitive conduct, in violation of California law.
“Apple ‘bears the burden of showing that the circumstances justify an exercise of [our] discretion,’” the appeals court wrote. “After reviewing the relevant factors, we are not persuaded that a stay is appropriate.”
“We’ll continue to argue our case during the appeals process,” said a spokesperson for Apple, who noted the company is disappointed with the ruling. “As we’ve said before, we strongly disagree with the district court’s opinion. Our goal is to ensure the App Store remains an incredible opportunity for developers and a safe and trusted experience for our users.”
Meanwhile, Epic Games’ CEO Tim Sweeney applauded the ruling in a social media post. “The long national nightmare of the Apple tax is ended,” he wrote. “May next week’s WWDC be the Apple-led celebration of freedom that developers and users have long deserved.”
Several developers, including Amazon and Spotify, have already changed their apps to allow users to circumvent payment options relegated to the App Store.
The court’s ruling in April blocks the company from charging commissions on transactions linked outside the App Store. It also prevents the company from controlling the language and app design developers use to direct their customers to their own websites to make payments.
Apple argued that the ruling is causing the company “grave irreparable harm.” Further, the company disagrees with US District Judge Yvonne Gonzalez Rogers’ conclusion that Apple did not comply with her 2021 injunction.
Interestingly, Gonzalez Rogers mostly sided with Apple following a trial in 2021, saying that its App Store policies did not violate federal antitrust law. But she ordered the company to allow developers to bypass its in-app payment tool to avoid a commission of as much as 30%. The US Supreme Court upheld that ruling last year when it declined to hear appeals.
As a result of the 2021 injunction, Apple allowed developers to point users to the web to complete transactions—but required developers to pay the company a 27% commission of whatever revenue was generated as a result.
Many developers, including Epic, complained about the new commission and a slew of restrictions Apple placed on their ability to link their customers outside the App Store, such as the design and placement of buttons and links. Epic accused Apple of circumventing the 2021 injunction.
Ultimately, Gonzalez Rogers concluded that Apple “willfully” violated her 2021 injunction, and even referred the company to federal prosecutors for a potential criminal probe of contempt of court.
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Survey Says… Users Want Discounts to Purchase Outside of App Store

Photo Credit: William Hook
As Apple continues to face regulatory pressure to open its App Store ecosystem, a new trend is emerging—users want discounts to abandon the App Store.
For years, Apple has required that digital purchases within iOS apps go through its App Store, allowing the company to collect a commission. This amount ranges from 15—30% depending on the developer, but recent legal and regulatory changes in the European Union and United States could see that change.
Developers linking to external websites where different payment options are available have become commonplace. Spotify previously charged a premium for users to subscribe on the App Store, whereas now it can direct users to payment options outside of the iOS ecosystem. A recent report from Morgan Stanley highlights that consumers expect to cash in on savings for going outside of the App Store—since developers will no longer have to pay the ‘Apple Tax’ on those purchases.
Photo Credit: AlphaWise
This survey conducted by AlphaWise for Morgan Stanley highlights just how much consumers expect to save. When asking U.S. iPhone users if they would purchase an app directly from a developer’s website, 28% of users said they were extremely likely to do so. 20% of users said they were likely to do so, while 19% said they were extremely unlikely to go outside of the App Store ecosystem.
The vast majority of iPhone users appear more willing to stick with the iOS payments ecosystem rather than go outside of it. But those who do are more likely to expect a discount from developers for being willing to purchase elsewhere.
How much? The survey results suggest users expect a 29% discount for an outside purchase to be justifiable—nearly the entire percent of the upper end of the ‘Apple Tax.’ So while developers may celebrate the win of abandoning Apple’s ecosystem—not many iOS users appear willing to go outside of it. That number has risen in 2025, too. Nearly 19% say they would be unlikely to go outside of the App Store, compared to 11% and 10% in previous years.
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Armada Music Mini-Documentary Charts Hard House History & Resurgence

A new mini-documentary from Armada Music explores the history and recent revival of hard house in the electronic music landscape.
Released today on the Dutch label’s official YouTube channel, The Comeback of Hard House charts the story of the high-speed subgenre from its origins in the Netherlands to a current resurgence in the years since the COVID-19 pandemic, buoyed by increasing post-lockdown demand for fast tempos and support from scene heavyweights like KI/KI, KETTAMA, and Peggy Gou.
Directed by Denise Mulder and Emiel van der Burgt, the 10-minute film is led by interviews with foundational figures from hard house’s early years, including Mass Medium/Club Caviar, Klubbheads, and B.O.B. Ltd, as well as rising torchbearers Maruwa and Benwal.
“Suddenly it combined with some raps and sirens and beeps and everything you normally use to evacuate your building,” Mass Medium/Club Caviar’s Bart Arens shares in the film, discussing the genre’s evolution from classic house to its famously fast and punchy sound. “That kind of became the hard house genre.”
Watch Armada Music’s The Comeback of Hard House documentary below.
Featured image courtesy: KETTAMA. Credit: @capturecharles.
The post Armada Music Mini-Documentary Charts Hard House History & Resurgence appeared first on EDM Maniac.
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Moby, BLOND:ISH & Kiko Franco Reimagine a Classic on Defected with ‘Natural Blues’

One of the year’s most unexpected and captivating collaborations has just landed. Dance music icon Moby has teamed up with genre-defying producer BLOND:ISH and Brazilian powerhouse Kiko Franco to release a fresh version of his beloved track “Natural Blues,” out now via Defected Records.
Originally released over two decades ago on Play, “Natural Blues” is one of Moby’s most iconic and emotionally charged productions. Now, in 2025, the song is reborn with new energy and summer flair — retaining its soul while embracing the pulse of today’s global dancefloors. BLOND:ISH explained :
That spontaneous call kicked off what would become a cross-continental, feel-good anthem. With BLOND:ISH stationed in Miami and Kiko Franco in São Paulo, the duo began shaping a version that started as a remix and evolved into a full-blown collaboration.
For BLOND:ISH, this release marks another milestone in her unstoppable rise. From her Abracadabra events and Bye Bye Plastic initiative to headlining the world’s top stages (Coachella, Tomorrowland, and a historic Pacha Ibiza residency), she continues to blend music, sustainability, and innovation in everything she does.
Kiko Franco adds his signature touch to the track, infusing it with melodic leads and Afro House-inflected percussion that build into a soaring drop — a perfect complement to BLOND:ISH’s uplifting piano stabs and Moby’s timeless vocals.
Built for open-air festivals and late-night club sets alike, the 2025 version of “Natural Blues” bridges generations and continents, reminding us why electronic music’s power lies in its ability to evolve while staying emotionally resonant.
Whether you’re a longtime fan of Moby’s work or discovering “Natural Blues” for the first time, this collaboration breathes new life into a classic — and delivers one of the summer’s most infectious house cuts.
Stream “Natural Blues” now via Defected Records :
The post Moby, BLOND:ISH & Kiko Franco Reimagine a Classic on Defected with ‘Natural Blues’ appeared first on EDMTunes.
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Tiësto & Sexyy Red Drop OMG! – A High-Octane Hit from F1® THE ALBUM

Dance floors are about to catch fire. Legendary DJ Tiësto and rising hip-hop sensation Sexyy Red have fired up their engines for ‘OMG!,’ a high-energy banger that leads the charge for the upcoming F1® THE ALBUM. Blending bass-heavy club beats with explosive energy, the single sets the tone for what’s being called one of 2025’s most anticipated soundtracks.
OMG! Is a Loud, Lusty, and Limitless Club Banger
Built around a deep, throbbing bassline and glimmering synth loops, ‘OMG!’ Captures the intensity of both nightlife and motorsport mayhem. Tiësto’s signature build-ups and drops are in full effect here—clean, punchy, and tailored for massive sound systems. The production leans toward hypnotic repetition, giving Sexyy Red plenty of space to do what she does best: deliver a raw, bold, and completely unapologetic vocal performance.
Lyrically, Red brings the same cunty, playful energy that launched her into stardom. There’s attitude in every line, but also sassiness—a balance that keeps her from ever feeling one-dimensional. Together, Tiësto and Red have created a track that doesn’t just hype up a party—it owns the room.
‘OMG!’ doesn’t try to be subtle. It’s loud, lusty, and meant to be looped all summer long. The kind of track you hear once at a party and immediately Shazam. Get ready for strobe lights, sweaty walls, and the kind of hook that gets shouted back from the crowd by verse two.
F1® THE ALBUM Shifts Into High Gear with Star-Studded Sound


‘OMG!’ serves as a teaser for the full-speed experience of F1® THE ALBUM, which features tracks by Ed Sheeran, ROSÉ, Doja Cat, Peggy Gou, and more. The soundtrack is the official companion to the upcoming F1® The Movie, starring Brad Pitt and directed by Joseph Kosinski (Top Gun: Maverick). Releasing on June 27, both the film and album aim to merge high-performance cinema with even higher-impact sound.

Tiësto, a global streaming giant with over 5.9 billion plays, recently made history at the Miami Grand Prix as the first artist to perform live both on the grid and podium. His cameo in the film adds an extra layer of connection between the sound and the story. Meanwhile, Sexyy Red—fresh off major chart success and a breakout in 2024—cements her place in the cultural fast lane with this feature.

You can listen and pre save the track here.



F1® THE ALBUM
Tracklist
Don Toliver – Lose My Mind (feat. Doja Cat) Dom Dolla – No Room for A Saint (feat. Nathan Nicholson) Ed Sheeran – Drive Tate McRae – Just Keep Watching ROSÉ – Messy Burna Boy – Don’t Let Me Drown Roddy Ricch – Underdog RAYE – Grandma Calls The Boy Bad News Chris Stapleton – Bad As I Used To Be Myke Towers – Baja California Tiësto & Sexyy Red – OMG!
The post Tiësto & Sexyy Red Drop OMG! – A High-Octane Hit from F1® THE ALBUM appeared first on EDMTunes.
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Goldman Sachs Revises Global Music Revenue Projections

Goldman Sachs has recently revised its near-term outlook for the music industry for the first time since implementing this tracking methodology. According to an article from Billboard, the multinational investment bank and financial services company just lowered global growth expectations for the music industry for the next five years, as well as its forecast for global recorded music revenues this year. The latest Music In The Air report from Goldman Sachs now projects a compound annual growth rate of 6.8% from 2025 to 2030, a reduction from the previously anticipated figure of 7.6%.
The music business publication, Music Business Worldwide, stated that global revenues will expect to tip at $31.4 billion in 2025. Furthermore, the forecast for the period from 2031 to 2035 indicates a further slowdown, with an expected annual growth rate of 4.8%. The publishing revenue projections remain steady at $10.7 billion for 2025. In contrast, the live sector has experienced a modest upgrade, with expectations now set at $38.2 billion, an increase from the earlier estimate of $37.7 billion.
Also, music industry observers and financial analysts can note the most significant adjustment within the ad-funded streaming segment, which Goldman Sachs now estimates at $11.3 billion for 2025, reflecting a decrease of $2.1 billion from prior forecasts. Additionally, the subscription-based streaming sector has seen a slight decline, adjusting from $33 billion to $31.3 billion. Analysts have identified several key factors contributing to these changes, including a shift in user behavior away from long-form content, limited growth prospects from new platforms, and more measured expansion in emerging markets.
Goldmen Sachs revises how music industry revenue growth can improve projections
Furthermore, projections for streaming subscriber growth and average revenue per user have received a revision downward to align with these new expectations. While the report indicates that pricing adjustments and regional service differentiation may offer some long-term relief, there are no expections for them to fully counterbalance the short-term impact.
Despite these revisions, Goldman Sachs maintains a positive outlook regarding the structural resilience of the music industry. The long-term potential still connects itself to critical factors such as pricing power, opportunities for licensing expansion, and improved alignment between service design and consumer preferences.
Acknowledgement of AI’s role in generating revenue in current music industry trends
The report also acknowledges the rising influence of AI-generated music, noting that its current impact on royalties is relatively minimal, with AI tracks making up approximately 0.1% of the royalty pool. Advances in content identification and adjustments to royalty models are contributing to the management of this issue at present.
Overall, while the significant long-term revenue adjustments that Goldman Sachs made were not according to AI output volume, its role remains an important variable in future modeling. The firm emphasized that the technology could lead to either fragmentation or consolidation of revenue, depending on how streaming platforms and rights holders approach attribution, licensing, and monetization in the future.
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Fever Aquires DICE

In a significant move within the live entertainment industry, Fever, a global live events discovery platform, has acquired UK-based ticketing company DICE. This acquisition aims to create the world’s leading independent live entertainment technology platform, enhancing experiences for fans, artists, and venues alike.
Fever, founded in 2014 and valued at $1.8 billion, has rapidly expanded its presence, operating in over 40 countries and reaching 300 million people through its platform. The company recently secured over $100 million in equity funding from investors including L Catterton and Point72 Private Investments, bolstering its position in the live entertainment sector .
DICE, established in 2014, has been recognized for its fan-first approach to ticketing, offering features like personalized event recommendations and a secure mobile ticketing system. The platform boasts over 10 million monthly active users and has partnerships with notable venues and festivals such as Club Space, Newport Jazz and Folk Festival, and London’s Alexandra Palace 
The merger of Fever and DICE is set to combine Fever’s extensive event discovery capabilities with DICE’s innovative ticketing solutions. This integration will provide fans with a seamless experience, from discovering events to purchasing tickets, while offering artists and promoters advanced tools to engage with audiences.
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Armin van Buuren Discovers The Sound of Sting, joined by 2025 F2 Monaco Grand Prix winner

Armin van Buuren posted a video unveiling a surprising discovery – the sound of “Stinggg” echoing through the roar of an F1 engine. While isolating audio layers from a race recording, Armin noticed an uncanny resemblance between the engine’s pitch and the sonic builds in his music. The post piqued global curiosity, as fans, creators, and even F1 icons joined the conversation. And with that, Sting Energy surfaced. Not as a familiar face in Formula 1, but as a bold new force ready to make its mark.
Joining the wave of excitement were Formula 1 legend Jenson Button and 2025 F2 Monaco Grand Prix winner Kush Maini, who amplified the moment with energized reactions – captivated by the sonic connection between Sting Energy and the roar of Formula 1. Their involvement added credibility to what many had dismissed as coincidence, showing it was something much more deliberate.
Without any official announcement or clear branding, people started to wonder quietly: could Sting Energy have been part of Formula 1 all along? The frenzy reached its peak at the Monaco Grand Prix, where F1 fans and influencers from around the world were seen recording the races – reacting in real-time as Sting Energy’s now unmistakable sonic signature revealed itself within the raw, high-octane roar of the track.
Making the discovery, world renowned DJ and record producer, Armin van Buuren said, “As a longtime F1 fan, I was revisiting some engine sounds in the studio when one frequency stood out, it almost sounded like ‘Sting.’ At first, I thought it was a coincidence, but the more I listened, the more melodic it became. It’s a great reminder that inspiration can come from the most unexpected places – even a car racing down the track.”
Jenson Button, 2009 F1 World Champion driver, added, “I’ve spent my entire life around Formula 1 – from the garage to the podium, and everywhere in between – and I thought I’d experienced every nuance the sport had to offer. But, when Armin played that engine clip and pointed out what he heard, I was genuinely surprised. I played it back and… There it was. ‘Sting.’ Clear as day. It’s strange, but also kind of brilliant – how something so familiar can hide in plain sight for so long. Once you hear it, you can’t ignore it.”
Commenting on the roar, Vandita Pandey, VP Marketing at PepsiCo, International Beverages, Energy, said, “Sometimes the most powerful brand moments aren’t manufactured – they’re discovered. This wasn’t just about launching a campaign; it was about listening to culture and amplifying what fans already felt. This partnership is more than regular sponsorship, it’s sonic alignment. Sting Energy didn’t just join Formula 1, it revealed it had always been there, embedded in the thrill, hidden in the sound; and now, the world knows. The brand officially takes its place on track with a future of vigorous fan experiences ahead.”
Jonny Haworth, Director of Commercial Partnerships, Formula 1, said, “Formula 1 has always been about more than just speed – it’s about emotion, energy, and the sensory experience that comes with every race. This partnership with Sting Energy taps into that energy in a fresh, creative way. It’s a celebration of the power of sound, and how culture and sport continue to collide in exciting new ways.”
With this partnership, Sting Energy will now supercharge fan experiences across 21 races– through immersive brand experiences, co-branded products, on-pack promotions, and digital storytelling.
The post Armin van Buuren Discovers The Sound of Sting, joined by 2025 F2 Monaco Grand Prix winner appeared first on EDMNOMAD.
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Moments Following Its $100 Million Raise, Fever Scoops Up Ticketing Platform Dice

Live events platform Fever, which announced a $100 million raise yesterday, has officially acquired Dice. Photo Credit: Fever
Moments after scoring a $100 million raise, live events platform Fever has set its sights on the ticketing world with the acquisition of Dice.
New York City-headquartered Fever, which has secured at least $440 million from investors since 2022, unveiled the play today. As the purchaser sees things, the businesses’ “combined scale and capabilities” will power “a consumer-first, innovation-led platform” in the live arena.
Also as described by the Goldman-backed buyer, however, London-headquartered Dice’s existing artist, venue, and promoter clients can “keep using the platform exactly as they are” – while simultaneously tapping into Fever’s own audience. The latter is said to consist of some 300 million individuals situated across north of 40 countries.
“Together, we are strengthening our position as the leading global tech player for culture & live entertainment,” added Spain-born Fever co-founders Francisco Hein, Alexandre Pérez (formerly with Goldman and then KKR), and Ignacio Bachiller.
“At Fever,” the three proceeded in part, “we are firm believers that data and technology have the power to elevate the live music experience—making it more accessible, more personalised, and ultimately more impactful for fans, artists, and venues alike.”
Meanwhile, Dice founder and CEO Phil Hutcheon touted his platform’s current offerings and the perceived ability of today’s deal to fuel a buildout into new markets and crowd-based happenings.
(Regarding recent growth trends, Dice claims to have “more than doubled its ticket sales, surpassing 10 million monthly active fans,” during the past two years, the formal announcement notes.)
Not mentioned in these remarks or the wider release is the transaction’s price tag. Nevertheless, it’s been just shy of one year since reports pointed to Dice’s openness to a sale valuing it in the hundreds of millions of dollars range. (Unsurprisingly, Dice itself is far from light on investor support.)
It’s unclear whether the newly revealed purchase actually delivered a sum in that ballpark. But it’s safe to say there’s ample capital in the live and ticketing world, where StubHub is reportedly still eyeing a massive IPO.
Plus, Vivid Seats is said to be exploring a private equity sale at an eye-watering valuation, with the likes of TickPick ($250 million), Seat Unique ($20 million), XP ($6.2 million), and Celebratix ($1.2 million) having scored fresh investments during the last year or so.
In other words, despite a few indications of slowing live event sales, the space doesn’t lack enthusiasm or dollars. And though it probably doesn’t need saying, those with stakes in the sector have a clear-cut interest in encouraging direct expansions as well as revenue increases in adjacent areas.
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NBA Taps Unreleased Lil Wayne Track Featuring Bono to Kick Off Pacers vs. Thunder Finals

Photo Credit: NBA on ESPN
An as yet unreleased Lil Wayne track featuring Bono from the eagerly anticipated ‘Tha Carter VI’ makes its debut in a preview for the NBA Finals.
Lil Wayne is preparing to drop his hotly anticipated new album, Tha Carter VI, due for release tomorrow (June 6). Fans have waited eagerly for the album, and now they’ve been treated to a taste, just ahead of release. An unreleased track from the album, which features U2 legend Bono, has appeared in an ad for Game One of the NBA Finals between the Indiana Pacers and Oklahoma City Thunder.

“Basketball’s been in my blood since day one,” said the rapper. “So to team up with ESPN less than 24 hours before the drop of Tha Carter VI for the NBA Finals is an incredible honor.” He added, “My music and the NBA are vibin’ on the same frequency. Because it’s perfect timing for fans to hear Tha Carter VI on the game’s grandest stage.”
“Lil Wayne brings the energy, edge, and emotion that define the NBA Finals,” said Curis Friends, Vice President of Sports Marketing at ESPN. “Integrating his music into our NBA Playoffs coverage has been a strategic brand flex—amplifying our storytelling and connecting with fans as we showcase today’s rising stars on the league’s biggest stage.”
Wayne also dropped a trailer for the project on his socials, showing the rapper at different stages of his career, culminating with a snippet from his forthcoming release.
Lil Wayne announced a North American tour earlier this week, which is scheduled to kick off tomorrow to coincide with the release of his latest album. The hip-hop star will play in cities like Toronto, Detroit, Milwaukee, Los Angeles, Austin, and many more, concluding with a performance in West Palm Beach, Florida, in October.
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Ladegaillerie & Co. Double Down on Believe Buyout Offer with a Cool 17.2 Euros-Per-Share Ante

Photo Credit: Denis Ladegaillerie by Anis Martin
A consortium led by Believe CEO Denis Ladegaillerie doubles down on plans to acquire the remaining shares of the company from public shareholders.
Back in April, a consortium led by Believe founder and CEO Denis Ladegaillerie (Upbeat Bidco), confirmed its plans to acquire the remaining shares of the music company from public shareholders. Now, the consortium has doubled down on the offer by significantly upping its bid for the remaining shares.
According to an announcement by Believe, the consortium has decided to increase the price of its offer to 17.20 euros per Believe share—reflecting premiums of +12.6%, +13.1%, +17.5%, and +17.6% respectively. That’s compared to the volume-weighted average prices over the last 30, 60, 120, and 180 days as of June 2.
Believe says that financial advisory from firm Finexsi has issued a report concluding that the new offer price is fair from a financial perspective. Finexsi was acting as an independent expert, as appointed by the Board of Believe at the recommendation of the Ad Hoc Committee.
Believe’s board established the Ad Hoc Committee in April to evaluate the consortium offer, comprising its three independent directors: Orla Noonan, Anne-France Laclide-Drouin, and Cécile Frot-Coutaz. Now, following the report published by Finexsi and a “unanimously favorable recommendation” of the Ad Hoc Committee, Believe says the board “issued a favorable reasoned opinion on the proposed offer by a unanimous vote.”
Notably, the filing states that only independent directors participated in the vote, and that other directors—specifically Ladegaillerie, Andrew Fisher, and John Doran—“being connected” to the offering party (Upbeat Bidco), did not take part in the vote nor deliberations.
Further, Believe’s board feels the increased offer “was in the interests of the company and its employees, as it would enable [Believe] to pursue its development plan without changing its business model or its salary and human resources management policy.”
Now, even if Upbeat Bidco’s increased offer is rejected by any of Believe’s public shareholders, Ladegaillerie’s consortium plans to operate a “squeeze-out” under French financial law, thereby forcing remaining shareholders to sell their stakes. Under the “squeeze-out,” shareholders affected would have to sell their stock at the same price as the new offer.
The new offer “will be filed shortly” with the AMF, France’s equivalent of the U.S. Securities and Exchange Commission. Upbeat Bidco’s increased offer comes around a year after the consortium gained majority control of Believe, with a 94.99% stake in the company’s share capital through a 15 euro-per-share takeover bid. The transaction valued Believe at about 1.43 billion euros ($1.63 billion).
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